(Antarctic/1965)
1/2
In 1918, German philosopher Oswald Spengler finished writing
The Decline of the West, a study of the decadent, winter
years of Western civilization. In 1981, American director Penelope
Spheeris released The Decline of Western Civilization, a
snapshot of the Germs, Fear, and the fury of the Los Angeles punk
scene. In 2008, a label from London (1965) and a label from Seattle
(Antarctic) release Decline of the Pacific Northwest, which owes
a debt in title and in spirit to both Spengler and Spheeris.
Decline of the Pacific Northwest is four vinyl singles from
four Seattle bands—the King’s English, the Knast, Emeralds, and
Holy Ghost Revival—and a snapshot of a new local music culture.
Decline‘s bands are moving away from let’s-play-make-believe
preciousness (for example, the Decemberists) and away from anemic,
flaccid indie rock (for example, Death Cab for Cutie).
Decline is born of a fiercer, heavier spirit. All four of its
bands begin with a foundation of aggressive rock ‘n’ roll—you can
hear the heavy metal in their record collections—and embellish
from there. The King’s English are the pop representative of the group,
all hand claps and quick, tight guitars, with keyboards giving the
choruses a soaring quality. The Knast are also a pop rock ‘n’ roll
band, but with more angst and urgency, particularly in the vocals. The
pleading chorus of “Best Laid Plans,” with the background harmonies and
smashing cymbals, are the catchiest seconds on Decline. But the
most memorable minutes belong to Emeralds, the darkest and druggiest of
the quartet. Emeralds play six-minute mini-epics with thick organ
chords, Southern-rock guitar solos, and throaty howls. They bring the
ballast.
The Decline singles are debut releases for all three of the
above bands. Let us pass over Holy Ghost Revival, the fourth, in
silence: both because my brother, Conor Kiley, is the group’s leader
and songwriter, and because their two songs—”Girls Night Out” and
“Angel of Death”—are not Holy Ghost’s strongest work. (Sorry,
brother.) Nevertheless, Decline is an indispensable introduction
to a new Northwest: one that gnashes its teeth, wears its hair long,
and dances on the grave of old-guard indie pop—the weak, decadent
sounds of a dying era.
